Space Jam: A New Legacy Review A Mysterious Journey To Tunes World

Space Jam: A New Legacy Review

Even though it has become infamous over time, a sequel to 1996’s Space Jam was always going to happen. Although it isn’t an IP saga like the sequel, it is nonetheless the pinnacle of “product placement: the movie.” Looney Tune purists loathed it (and rightly so), but it still holds a lot of value for those who grew up with it. It’s occurring again, 25 years later.

A New Legacy offers lots of things for teenagers to enjoy, nearly enough to make it a good family movie, believe it or not. Those who grew up enjoying the original, on the other hand, will find themselves becoming a new sort of purist, loathing the picture for what it does to the Looney Tunes. Surprisingly, the 25-year gap makes it seem much more dramatic. “It’s like poetry,” George Lucas once stated. It’s rhyming.”

Space Jam: A New Legacy Review

Believe me when I say that Space Jam: A New Legacy is no simple task. As much as everyone else, I desire another big triumph for the Looney Tunes (those new HBO Max shorts are solid though). Even when Warner Bros. puts Bugs, Daffy, and the gang in the most terrible situations, they have proven to be timeless. For years, it’s been apparent that the studio doesn’t have a good handle on the Tunes. Given that they are linked with the face of the WB brand, this is nearly impossible. A New Legacy frequently comes across like a last-ditch attempt to try if the Tunes can still connect with modern audiences, which is disappointing, but not quite as disappointing as when you begin to believe that this film has a beating heart. There’s a great family film hidden behind all of WB’s self-indulgences, one where the Looney Tunes don’t have to justify their worth to the viewer.

You get glimpses of this throughout A New Legacy, just enough to make it tolerable to sit through the whole thing. The narrative is as straightforward as it has to be for a film like Space Jam. WB asks LeBron James to be the face of a new business endeavor. The studio is experimenting with a new series that allows you to be inserted into any of their popular brands. Do you want to meet your favorite DC heroes, or find out which Hogwarts House you belong in for good? It’s just going to get worse from here, Because this software is operated by a rogue A.I., both for us viewing and for LeBron, AL-G Rhythm (Don Cheadle), in a similar vein to Marvel’s Ultron, has significant interpersonal issues and vows to exact vengeance on LeBron for declaring this series the dumbest idea ever (which he is correct). He catches LeBron in WB’s server-verse, and where better to resolve this feud than on the court?

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This idea is great on its own, but one of the few advantages A New Legacy has over the original is LeBron’s son. Being as successful as LeBron is, he sets extremely high expectations for his children at home. His personality makes him more of a coach than a father, which causes conflict when his younger son Dom (Cedric Jones) shows little interest in basketball. Dom is a budding video game creator who is now working on his own project (which is coincidentally a Basketball shooter). He’d want to attend a forthcoming E3 conference, but it’s the same week as LeBron’s basketball camp, which he won’t attend. It’s funnier when LeBron can’t seem to grasp his son’s own game because it elevates cartoon antics above the sport’s “fundamentals.”

AL-G sends LeBron to the Tune World, which is made up of WB’s rejects. This is only one of many hilarious parts, given that the studio has previously ignored the Tunes and that some of the writing appears to have been produced by a computer. Bugs is alone here since the rest of the group has been split up by AL-G into various IPs. The laziest incorporation of IP seen in any of these cursed flicks yet degrades an almost lovely “let’s get the guys back together to play some ball” second act. We go through many films with the Tunes digitally inserted, such as The Matrix and Mad Max: Fury Road, and to put it simply, the jokes don’t fall and it doesn’t look good. And it doesn’t stop there; till the very end, further references are made. With one hand, you can count the IP callouts that barely operate, like the Tunes that travel between DC’s different realms. It only works better here because the portions are animated, and you get the impression that the movie is at least attempting to spice up its visual flare, if only for a little period.

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Overall Maxblizz Rating: 85/100


Arun Venugopal - Author, SEO Specialist, Content Writer of Maxblizz.

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